22nd Annual HollyShorts Film Festival - 2026
The 22nd Annual HollyShorts Film Festival is happening Thursday, August 13th-Sunday, August 23rd!!!
Over 350 Oscar and BAFTA qualifying shorts are being screened!!!
Saw a lot (not all) - and even interviewed some of the filmmakers and teams along the way.
Click the poster below. (Note: Some films were screened at previous festivals, but clicking the poster takes you to review).
Selected Short Films
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32B
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Bleeder
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Certain Thomas
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ChikaBOOM!
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Disc
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FarEye
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Fault
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Getar Hero
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I Am the Prize
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Kaya (ᜃᜌ)
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King of the Iron Will
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Saba
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Selah
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Meeting Your Maker
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Little Bug
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Phantom Carousel
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Papillon (Butterfly)
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Swim Sistas
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Still Life
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Violet and Marlowe
Rob a Bank
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Short Film (Narrative)
Film Production Companies: Ten20 Productions and Dusty Films
Rating: NR / Run Time: 11 minutes
Language: English
Director: Mar Sudac
Writer: Mar Sudac
Starring: Brandon Wilson, Cheech Manohar, Alex Blue Davis
and Marianne Rendón
“I trust you.”
The day has arrived. It is the deadline for all US citizens to submit to testing in order to medically verify their sexual orientation. In this not-so-distant future, this information is required should you want to apply for Social Security, loans or complete any application requiring standard authorization like health care and insurance. Failure to do so could have lasting impacts. It is on this day that couple Clark (Wilson) and Gus (Manohar) have arrived. They have plans to start a family and get a mortgage on their home, as they want out of the tiny, mold-ridden apartment they currently occupy. The testing consists of standard practices one might have at a physical, responding to a series of questions and then a five-minute sequence of medically supervised voyeurism under some interesting constructs being conducted by the medical staff. Once completed, they need to wait, and it is this that will determine how they can proceed.
In his writing and directorial debut, Sudac poses some fascinating questions around government regulation. Reflecting on current society, this satirical approach provokes laughter in the absurd discomfort of the circumstance. Wilson and Manohar, in limited-dialogue performances, expertly convey the hopes and feelings of a couple in a less-than-desirable situation. Although we don’t learn much about their history as a couple, in the moments we spend with them, Sudac provides just enough insight to allow us to feel their tenseness at the situation they are in. There is also something fascinating about watching a couple simply go through the motions of a process that, on the surface, seems routine, but becomes increasingly invasive as it continues.
Shot on 16mm, cinematographer Kayla Hoff presents a fascinating look into this world that is both futuristic and yet dated in an interesting way, with some of the settings evoking that of a 1970s sitcom. Ben Bruker’s subtle and strategically placed score provides a unique sensation as you reflect on the circumstances. And then there is the way the film plays with its central premise, eventually giving us a moment that makes you reconsider what you have just watched without overstaying its welcome. All in all, this thought-provoking short reminds us that the systems we create to define people can sometimes tell us more about the system than the people being tested.
For an exclusive discussion with Writer/Director Mar Sudac, Producer Trey Sutton and Editor/Post Producer Achoim Mendoza, click HERE.
Review by Cinephile Mike
Bleeder
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Short Film (Narrative)
Rating: NR / Run Time: 17 minutes
Language: English
Director: Jeremy Max
Writer: Jeremy Max
Starring: John Duddy, Natalie Roy, Dave Bobb, Joel DeCandio,
Casey Sullivan and Thomas Vorsteg
“It’s OK. You’re not going to hurt me.”
Our unnamed “Bleeder” (Duddy) may be walking down the street or riding a subway across the boroughs of New York City, but whenever he receives the small black envelope with a date and a time, he shows up. No questions asked. He appears, meets his guest and proceeds to be beaten for a minute by said guest, wherever they like. This is how “Bleeder” earns his money, doctoring himself up after each appointment. Upon returning home, amongst the bleeding bandages and the trail of blood streaming down the shower drain, he goes on. Day after day, he goes through the motions, unbeknownst to his wife Mel, who believes he is paid for sparring and doesn’t understand why he isn’t wearing protective gear.
The relationship between “Bleeder” and Mel is strained at best, and as we see details unfold as to why, some of “Bleeder’s” intentions become known. However, he has chosen this path as a coping mechanism and seems to find some satisfaction in it, even if not Mel. However, it isn’t long before “Bleeder’s” secret world and his real one come face to face, and he will have to make a decision.
Jeremy Max has constructed a fascinating character study that looks at how we deal with complicated emotions as a result of trauma and grief. To say more would spoil this subtle film, but it keeps you gripped up to the last moment when these worlds collide, leaving you wanting to spend more time in this world to understand “Bleeder’s” life and why he has come to be as he is. Stylistically, the sound team of Zach Travis and Joseph Winterbotham makes each hit at “Bleeder’s” appointments felt on a visceral level, while cinematographer David Foy keeps us uncomfortably close to the action, yet creates fascinating wideshot moments showing the vastness of New York that echoes the life of “Bleeder” when he meets his clients in vacant lots or side streets. With a simple composition by Benjamin Emmerich, we are granted a look at the life of a man trying to cope, and yet not as successfully as one would hope. All in all, this powerful short is a look at grief, guilt and the everlasting question of whether physical pain can help heal emotional pain.
For an exclusive conversation with Writer/Director Jeremy Max, click HERE.
Review by Cinephile Mike
Certain Thomas
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Short Film (Narrative)
Rating: NR / Run Time: 19 minutes
Language: English
Director: Henry K. Hwang
Writer: Henry K. Hwang
Starring: Leon Schwendener, Sean Weil, Toni Fazio, Juniper Renee Verdon,
Petro Ninovskyi and Christopher Chan
“Deep down, everyone wants this job, Mom. I’m a lucky guy.”
Welcome to The New State. A government that evokes certain imagery of a certain European political system from the mid-20th century and is set within a Brutalist-styled environment. Without warning, their officials will arrive at your doorstep if you display any behavior patterns that their system picks up. You will be presented with a complicated equation that the unsuspecting are to follow. Upon the visit, anything suspicious will be reported if it challenges the expected behaviors or holding on to behaviors or elements from the past.
Analyst Private Thomas K (Schwendener) is about to have his first day out in the field. Accompanying Sgt. Major James (Weil) and Cpl. Andrew (Ninovskyi), they visit one unsuspecting citizen and when searching his home and finding things are not as they should be, drastic action is taken, all because the said presented equation provided a look at what “would” occur. Artificial intelligence at its scariest, all math equations, is responsible for working to keep The New State in control. However, there are some that do not see the value in this and challenge it. When Thomas is confronted with a complicated choice in his own life, based on a different equation, he will need to determine where his loyalties lie.
Evoking Kafka’s The Trial, Hwang gives us a fascinating character in Schwendener’s Thomas K, an everyman operating under a system he believes is the norm. Schwendener delivers a solid performance as a man torn between loyalty to those in his life and to the government he backs, and as we follow him in this brief runtime, we feel both sympathy and dread as his world begins to change. With stunning production design by Martyna Kalata and Grace Musser, accompanied by stark costume designs by Kaitlyn Kim, Hwang’s world comes to life under the haunting, tense score by Christopher Armstrong. The buildup is incredibly effective, and the visuals make this world feel far larger than the 19-minute runtime would suggest.
Perhaps the biggest compliment I can give Certain Thomas is that when the credits rolled, I immediately wanted more. Not because the story doesn't have a conclusion, but because I wanted to spend more time in this world and with Thomas K. The film asks some fascinating questions about authoritarianism, technology and how much faith we should place in systems that tell us what is right and wrong, while never losing sight of its central character. All in all, this thought-provoking short is a chilling look at what happens when we surrender our humanity and judgment to the systems we trust, and left me wanting to see where Thomas K goes next.
For an exclusive conversation with Writer/Director Henry K. Hwang, click HERE.
Review by Cinephile Mike
FarEye
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Short Film (Narrative)
Film Production Company: Soul Rebel Productions
Rating: NR / Run Time: 14 minutes
Language: English and Amharic
Director: Hayden Mclean
Writer: Hayden Mclean
Starring: Djamari Roberts, Jesse Royal, Donisha Prendergast,
Antoinette Smith, Jeff Crossley and Sydney Watson
“Sometimes the safe havens we yearn for, can’t bear the burden of our pain.”
Khalil (played in his youth by Roberts) has a less than desirable home life. When his mother plans to leave with him and his sister, his attempt to escape is thwarted when his father tackles him and his mother drives off. Rather than staying home, he runs. En route, he is chased away by a group of youths he tries to befriend, and when a woman offers him a ride, he overhears her on the phone calling child services, causing him to run again. Ultimately, he ends up in the woods. While evaluating his injuries, he hears singing in the distance. Upon investigating, he comes across a community speaking and singing in Amharic, and the community welcomes him. Here, Khalil experiences a new possibility for his life and is faced with a decision.
Mclean's short and impactful film is both a glimpse into the life of a young man seeking his place in the world and a history lesson about culture. Cinematographer Joel Honeywell manages to capture both the chaos of Khalil's journey and the calm he begins to experience once he meets the community in the woods. Djamari Roberts gives a strong, almost dialogue-free performance as Khalil, presenting a child at a loss, while Jesse Royal's narration provides an almost poetic overview of his inner thoughts and gives the film a unique button at the end. Set in the countryside of Jamaica, we also see a side of the country not often captured on screen.
The challenge is that the film moves very quickly through what could be the most interesting part of Khalil's journey. We see the impact of his childhood and are introduced to this community that offers him a possible new way of life, but the transition from youth to adulthood happens so quickly that we don't get much opportunity to understand how this experience shaped him. There is clearly something meaningful that happened between these two points, and I found myself wanting more time with Khalil and the community to see that transformation unfold. At just 14 minutes, there is only so much room to tell this story, but it left me wishing for a little more of the journey in between. All in all, this thoughtful short reminds us that sometimes we need to open ourselves up to what we don't know, as it may lead us in a direction we never expected.
For an exclusive conversation with Writer/Director Hayden Mclean, click HERE.
Review by Cinephile Mike
I Am the Prize
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Short Film (Narrative)
Rating: NR / Run Time: 18 minutes
Language: English
Director: Sai Karan Talwar
Writer: Sai Karan Talwar
Starring: Russell Tovey, Faith Alabi, Jane Fowler, Jack Sherlock
and Ola Teniola
“I need you all to say, ‘I am the prize.’”
Anthony Selvon (Tovey), a legend in his own mind, presents himself as the man every other man wants to be. Confident, charismatic and inspirational, Anthony runs successful workshops designed to help the men sitting in front of him accomplish their goals…women…jobs…whatever it may be, he wants you to know he is one of you. He tells you your self-worth is damaged, but there is a way out.
However, there is the man Anthony presents himself to be, and there is the man he actually is. When he is alone and having a private moment with someone that could explode his world, he suffers a pulmonary embolism which puts him at risk. From this, and not wanting to admit defeat, he moves forward with an interview with a journalist (Alabi). Expecting the conversation to go one way, the journalist spins things and the spotlight on Anthony and his work becomes about Anthony and his life, and this could have ramifications beyond what he expects.
Tovey is a force to be reckoned with in this role. Opening the film with almost a five-minute-long presentation to his class, captured in one uninterrupted shot by cinematographer Josh Carrington Birch, he tells us everything we need to know about this character, and as we follow him on this journey, we see the shift as this carefully constructed persona begins to potentially shatter. A masterclass of reserve, despite the circumstances, Tovey delivers a chilling performance. You can see Anthony working to maintain control even when everything around him is beginning to challenge the image he has created.
From the classroom to the interview session, production designer Vito Velev keeps things stark and minimalist to highlight the empty, yet intimate world that surrounds Anthony, which is scored by powerful music from composer Thom Robson. In Anthony, writer/director Talwar has crafted a fascinating individual who is more interesting on the inside than who he presents himself to be. There are moments when you wish we could see a bit more of the man behind the carefully constructed persona, particularly as the film begins to pull that persona apart. But even with that, the film knows exactly what it wants to say and delivers its punch with precision. All in all, this thought-provoking short takes an interesting look at the power behind self-help culture and makes us question how much of ourselves we are willing to sacrifice to become the person we tell everyone else we are.
For an exclusive conversation with Writer, Director and Producer Sai Karan Talwar, click HERE.
Review by Cinephile Mike
King of the Iron Will
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Short Film (Narrative)
Rating: NR / Run Time: 14 minutes
Language: English
Director: Scott Vickers
Writer: Liam James Collins and Scott Vickers
Starring: Liam James Collins, Charlie Creed-Miles and Tom Tully
“The crown, it does not ennoble, it devours. The throne is but a millstone, grinding years.”
The great Bard once wrote, “Uneasy lies the head that wears a crown,” and the truth is set here as we meet King Draven (Creed-Miles), who has recently succeeded in defeating a kingdom and now sits with no one but his Eunuch (Tully) at his feet. He has accomplished what he wanted, and yet, he seems lost. At this enters the farmer's son, Baron “The Iron Will” (Collins), who has held a twenty-year grudge against Draven for burning his village to the ground and has now come for his revenge. Confronting King Draven on his throne, it will not be as simple as the two foes trading words more vicious than swords, as each calls the other's actions into question and we see that neither's hands are as clean or pure as they may seem. As the confrontation unfolds, we begin to question exactly who we should be rooting for and whether revenge is really as simple as Baron believes.
Written in Shakespearean language, this brief but impactful tale is a solid showcase for Collins and Creed-Miles, who manage to chew the scenery in a delicious manner and present a climactic confrontation that almost seems like the final chapter of an epic feature. Each grounds their performance in the reality of the situation but elevates it, almost performing a classical tale on film without making it feel too presentational. There is an interesting dynamic between the two, as we watch them verbally spar and slowly reveal more about themselves and what brought them to this room. Even the Eunuch's presence, sitting at the king's feet as Draven almost casually pets him like a possession, gives us another glimpse into the world of a man who has everything and yet seems to have very little.
However, given that we don't see the intervening years leading up to this confrontation, we are provided with just enough exposition to whet the appetite, leaving you wishing there was more to this story. Shot in stunning castle locations at both Dunnottar Castle and Dundas Castle, one cannot help but feel the authenticity, accented with sparse set dressings by Ellen De Faux and Matt Timms. Cinematographer Robbie Jones captures the claustrophobia of the small palace room for the showdown, making it feel just as grand as its exterior. More importantly, Vickers uses this small space to keep us focused on the battle of words taking place between these two men. As the film reaches its conclusion, the story ultimately becomes less about who deserves the throne and more about what happens when the person who fought hardest to obtain power becomes a prisoner of it. All in all, this fascinating look at a time past speaks to the consequences of power, what we do to obtain it and what it can ultimately cost us to keep it.
For an exclusive discussion with Co-Writer, Producer and Star Liam James Collins and Co-Writer, Producer and Director Scott Vickers, click HERE.
Review by Cinephile Mike
Little Bug
⭐️⭐️⭐️
Short Film (Narrative)
Film Production Company: Honey Badger Pictures
Rating: NR / Run Time: 10 minutes
Language: English
Director: Matt Branston
Writer: Matt Branston
Starring: Martin Freeman and Alexandra Barredo
“You don’t deserve this. I know.”
It would be hard to argue that one of the most famous animals in history is Laika, the first dog to orbit Earth, even if the trip was an unfortunate one-way journey. In Little Bug, shortly before Laika is to set off, one of the scientists (Freeman) brings her home and introduces her to his daughter Ana (Barredo). It isn't long before we see that the relationship between them is a bit fractured, and over the course of the night, both father and daughter begin to take to Laika and express their feelings and concerns, as well as their understanding of what is at stake for her. One is left to wonder if father and daughter can find their path back to one another, though even this small gesture is not without its challenges.
Writer/director Branston sets out to tell a story about a family in need, and here, Laika becomes the pathway between them. We switch back and forth between each of their interactions with Laika, and this becomes all the more interesting because cinematographer Jake Duncan shoots the film from Laika's point of view. We see what she sees and are left to determine what she makes of these interactions. Whether she is being spoken to or simply stared at, we see her processing what is happening around her, along with select shots of her experience as she sets off.
There is an interesting idea here about how sometimes an outside presence can help people reconnect when they can't quite find the words themselves. Freeman and Barredo create believable tension between a father and daughter who clearly have something left to say to one another, and their performances give the relationship the weight it needs. The difficulty is that, at only ten minutes, we don't get to see much of the journey between where they begin and where they ultimately end up. Things seem to resolve themselves rather quickly, without quite giving us enough of the emotional transition to make the conclusion feel completely earned. It isn't that the destination doesn't make sense; I simply wanted a little more time getting there. All in all, this thoughtful short reminds us of the fragility of life and the relationships that sometimes need work, even when finding that path back to one another isn't always easy.
For an exclusive discussion with Writer, Director and Producer Matt Branston, click HERE.
Review by Cinephile Mike
Meeting Your Maker
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Company: Midnight Palms, Department of Light
and Sound and Okay Fine
Rating: NR / Run Time: 18 minutes
Language: English
Director: Gregory JM Kasunich
Writer: Gregory JM Kasunich
Starring: Jonathan Kite, Amanda Maddock, Lenny Jacobson,
Thomas Lennon, Jason Skar and Randy Skar
“Why am I still here? Why am I still doing this?”
Otis (voiced by Kite) is not happy. He should be. He is on a successful show, Yappy Hour, that has been on the air for 15 years and is about to film its 300th episode. Frustrated that he never got The Muppets, he doesn’t know if this work is even worth it. When he contemplates quitting, in come the showrunners who are excited to share that the show will be renewed for three more seasons, but, due to budget cuts, some changes will need to occur. Pondering his choices, Otis walks out, stops by the liquor store, heads to a local bridge, and jumps. Unsuccessful in his attempt, he finds himself on the table being repaired by his maker (Kite), and they discuss what comes next and have some decisions to make.
In a world where we choose to either work to live, or live to work, sometimes people may find themselves stuck creatively, running on the hamster wheel and never getting off. In this short film, writer/director Kasunich effectively captures the struggle of an artist caught in the burnout loop. It’s a hard place to be at times, we strive to get somewhere, and once we do, we wonder if it is worth it, is it as impactful as it should be. As both the puppeteer and Otis, Jonathan Kite is exceptional in portraying all the levels of the journey from wondering what it’s all for, whether it is right and making the correct choice. Although the film moves at a rapid pace, we are able to see the highlights and with his expressive eyes, Kite takes you on the journey with him. In a perfect balance, puppeteer Amanda Maddock and Kite are a powerhouse team delivering an emotional journey. There is something surprisingly effective about watching a puppet question the life he was created to live, and that makes the story feel bigger than its 18-minute runtime.
Although a tragic premise, Kasunich’s script finds moments of humor and absurdity where you need to be reminded that sometimes it is OK to laugh and you would be hard-pressed not to identify with both Otis and his handler. The production and costume design, particularly the muted color palette, is a perfect complement to the situation we are in, creating a world that feels appropriately subdued without becoming visually distracting. It adds another layer to a story that is already balancing some very complicated emotions. All in all, this is a funny, touching and surprisingly thoughtful short that reminds us that sometimes finding out what we want to do next is just as important as getting where we thought we wanted to go.
For an exclusive discussion with Writer and Director Gregory JM Kasunich, click HERE.
For an exclusive discussion with Executive Producer and Star Jonathan Kite, click HERE.
Review by Cinephile Mike
Phantom Carousel
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Blundell Studios and Lab Hugo
Rating: NR / Run Time: 19 minutes
Language: English
Director: Efosa Osaghae
Writer: Efosa Osaghae
Starring: Alec Christie, babirye bukilwa and Roxanne Nielsen
“If there’s nothing to flag, there’s nothing to flag.”
In a world where Big Brother is always watching, and we’re amazed when social media suddenly pops up an ad based on a conversation you were having in person with a family member, we’re now introduced to a world where not only are we worried about what our devices are capturing, but we also live in a society where companies can hire something akin to efficiency experts to spy on and evaluate those individuals who work remotely. This is a scary prospect, where you never know what is being looked at, and any gap in your work can be determined to be theft of time. This is the world we enter as we follow Bento (Christie), who spies on various individuals and reports back to a voice on the phone. However, earning that £500 a day is necessary, so dressed head to toe in black, he goes along.
On this particular day, we follow him as he is sent to see what is happening with Olara Adeyemi (bukilwa). Bento’s boss explains that her company is concerned that, despite her exemplary output and 100% client satisfaction, there is no activity between the hours of 3:00pm and 4:00pm every day. Bento is directed to determine what is going on, no matter what. Needing his job, he goes to extremes he has yet to take to complete his assignment effectively, and this puts him in a unique circumstance when the surveillance from outside her home takes him inside and across ethical boundaries.
In his third short film, Efosa Osaghae introduces us to a very disturbing reality that is not as far-fetched as it seems. While there may be no precedent for trespassing, this is a realm of employment that exists, and Osaghae captures the awkwardness that comes from those in these professions. As Bento, Christie presents a man at the end of his rope, and as we follow him on this journey, we are both empathetic toward him and gravely concerned for him. Giuseppe Vasapolli’s score fills the world, lighthearted one moment and then gripping you with anxiety the next as we see just how bizarre the world Bento inhabits has become. In a world where everything is monitored, one has to wonder if the ends sometimes justify the means, especially when we see the somewhat endless loop Osaghae leaves us with after the credits roll. All in all, this timely short will make us reflect on the age-old idea of who watches the watcher.
For an exclusive discussion with Writer and Director Efosa Osaghae, click HERE.
Review by Cinephile Mike
Still Life
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: 19th Street Productions and Double Dice Films
Rating: NR / Run Time: 11 minutes
Language: English
Director: Sophie King
Writer: Kate Radcliffe
Starring: Ophelia Lovibond, Jacob Anderson, Phoebe Pryce, Alex Bhat
and Jordan Alexandra
“No, it’s fine. I can manage it.”
Sometimes a mundane chore like going to the supermarket can be a quick jaunt, productive and satisfying, and other times, well, you are never quite sure what you are going to encounter. Jessica (Lovibond) and Max (Anderson) are at a crossroads in their lives after suffering a tragedy. Bolstering one another, they do what they can to process what is happening, even if they haven't explained it to many people. One day, while shopping for a visit from Jessica's parents, they run into friends Tessa (Pryce) and Hugo (Bhat), a married couple, as well as Jessica's sister-in-law, Maeve (Alexandra). As Jessica is confronted with the situation she is facing, the supermarket becomes the setting for a rupture unlike anything they are prepared for.
It's hard to say too much without spoiling Radcliffe's eloquently scripted story. She manages to explore moments of deep trauma and depression while still finding ways to make us laugh and feel a bit uncomfortable at the same time. Aided by a sporadic but effective score by Tommy Evans, the film presents an honest portrayal of someone who is at her wits' end. As we watch, it almost becomes a Murphy's Law of sorts, with little signs and moments seemingly taunting Jessica. Taking place almost entirely within the small aisles of the supermarket, cinematographer Carmen Pellon Brussosa captures everything in slick, tight closeups that, thanks to a fearless performance by Lovibond, you will feel at the back of your neck. She is so in tune with Jessica's experience that we empathize with this character almost immediately, aided by a wonderful turn from Anderson as Max.
There is something particularly effective about how much Radcliffe and King are able to accomplish in just 11 minutes. They don't over-explain what Jessica and Max are experiencing, instead allowing the environment, the performances and those small, increasingly uncomfortable moments to tell the story. Lovibond carries the weight of the film without ever making Jessica feel like a character designed simply to make us feel sorry for her. There is a humanity to her that makes what happens all the more affecting. All in all, this poignant tale reminds us that we never truly know what is going on beneath the surface.
For an exclusive discussion with Writer and Producer Kate Radcliffe and Producer Sarah Roy, click HERE.
Review by Cinephile Mike
The Witches of Pool Bottom
⭐️⭐️⭐️
Short Film (Narrative)
Film Production Company: Bounds Films
Rating: NR / Run Time: 7 minutes
Language: English
Director: Ava Bounds
Writer: Ava Bounds
Starring: Anja Cilia, Anastasiya Ador, Georgia Baines, Sydney Miede
and Frankie Bounds
“You.”
Rachel (Cilia) is preparing for one of the ultimate stressors in a young woman’s life—the pool party. Dressed in her red one-piece and swim cap, she stares at herself in the mirror, taking in her appearance, unsmiling. As her friend Cameron (Bounds) talks to her through the door, complimenting her confidence, she can’t feel it herself. Before she knows it, she believes she is jumping into the pool, but alas, it is empty, and she is brought before three of her biggest insecurities: Zitz (Ador), Fatz (Baines), and Hairz (Miede). As she prepares to conquer these, writer/director Ava Bounds presents a fascinating journey into the mind of Rachel and all she fears.
As we follow Rachel in battling these insecurities at the bottom of the pool, one can’t help but feel entertained by the clever costuming from Zy Bull and Ambre Keraudren and the prop work of production designer Camille Hewitt. Relying on practical effects, some of them are laugh-out-loud funny in all the right ways—see the exploding zit or the “Cousin It” tap dance. As we move from one sequence to the next and watch Rachel battle one insecurity after another, whether physical or danced, there is clever work throughout. Choreographer Darren Royston gives his quadrangle of swim-clad performers fascinating sequences evoking various periods of history, punctuated by some nice fight choreography from Jack Stockdale-Haley that brings these inner insecurities to life.
While Rachel is a fascinating character to watch, and Cilia does an excellent job presenting her anxiety, at a mere seven minutes, the film doesn’t really have a chance to delve into Rachel’s mind. While entertaining to watch, you can’t help but want more from her backstory and what brought her here. Even in the moments when her friend Cameron calls through the door, there is a story there that you can’t help but feel could have added more to the film. That said, this promising tale from an up-and-coming filmmaker lands its message fairly effectively and does so with a laugh at the subject matter. All in all, whether you are a preteen girl or a self-conscious adult, this journey is one that all can relate to.
For an exclusive discussion with Writer and Director Ava Bounds, click HERE.
Review by Cinephile Mike
